the era in Western philosophy, intellectual, scientific and cultural life, centered upon the 18th century, in which reason was advocated as the primary source for legitimacy and authority.
An artistic and intellectual movement originating in Europe in the late eighteenth century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions.
Iambic and Trochaic
types of meter.
(first word) unstressed-stressed, e.g. I came, I saw, I conquered.
(second word) stressed-unstressed, e.g. Tyger, Tyger, burning
Quid pro quo
An equal exchange or substitution.
A fourteen-line verse form usually having one of several conventional rhyme schemes.
Tenor and vehicle
(first word) the word, phrase, or subject with which the concrete reference (second word) of a metaphor is identified, as life in "Life's but a walking shadow" (Shakespeare).
End-stopped and enjambed
(second word) the breaking of a syntactic unit (a phrase, clause, or sentence) by the end of a line or between two verses. It is to be contrasted with (first word), where each linguistic unit corresponds with a single line, and caesura, in which the linguistic unit ends mid-line. The term is directly borrowed from the French term meaning "straddling" or "bestriding."
Couplet (heroic and open)
Two lines together, whether they rhyme or not;
A closed form of this word consists of two end-stopped lines (the first line does not extend into the next); the other type of this term, in contrast, is enjambed.
Three lines together, whether they rhyme or not
Four lines together, whether they rhyme or not
any line repeated in between various stanzas. Generally, these units are most meaningful in metrical verse, but free-verse writers use them knowingly as well
A moment in a work of art in which the artist refers to the production of the art itself
Having an oddly dreamlike quality
A rhetorical inversion of the second of two parallel structures, as in "Each throat/Was parched, and glazed each eye" (Samuel Taylor Coleridge).
a story in which another story is enclosed or embedded as a "tale within the tale."
poetry that has a plot
A traditional, typically ancient story dealing with supernatural beings, ancestors, or heroes that serves as a fundamental type in the worldview of a people, as by explaining aspects of the natural world or delineating the psychology, customs, or ideals of society
lyric poem of some length, usually of a serious or meditative nature and having an elevated style and formal stanzaic structure.
the imagery of movement
the phrase used by the English poet John Keats to describe the quality of selfless receptivity necessary to a true poet. In a letter to his brothers (December 1817), he writes:
"at once it struck me, what quality went to form a Man of Achievement especially in Literature & which Shakespeare possessed so enormously—I mean (word), that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason."
a form of thinking or description of thinking in which one term is always defined against its opposite. That oppositional pair operates interactively to creative meaning, eventually forming a third, middle term, which has its own counterpart. This type of thinking can be seen as a way to escape rigid categorical thinking. It is seen as a manner of thinking or of describing thinking that shows constant movement in the interaction between terms, i.e. meaning is never stable; it's always in flux because it's always in interaction with other meanings.